


w to Make 
Commencement 
Worth While 





How to Make Commencement 
Worth While 



A treatise setting forth in detail the essentials which 
should be at the command of every teacher who 
would close the year's work with a successful com- 
mencement :: :: :: 



— BY— 

Maude V. B. Akers, A. B. 

Woodcock, Illinois 



v^5 



LIBRARY of OONGRESS 
fwc Oopies rteceiveis 

JVIAY 1 1905 
Oopvrteni tP.tri' 

OlAsS c^ XXc. Moj 
COPY 3. 



COPYRIGHT, 1905 



12] 



To my father, John P. Burchit, who for more than 
forty years has given his whole energ-y to the teaching- 
profession, and whose unswerving fidelity to principle has 
been an inspiration to thousands of young minds, this little 
work is affectionately inscribed. 



[3] 



FOREWORD 




F you are principal of a high school, 
or the one in authority in any school 
or college, and have once endured 
the throes of anxiety and annoyance 
incident to commencement day, you will wel- 
come assistance from any source. 

This treatise is designed to give pratical 
help for that particular occasion, by one whose 
training in elocution and oratory has been 
supplemented by fifteen years' teaching of 
those subjects, in both high school and college, 
as well as in private, and who has prepared 
many students for public appearance. Such 
experience could not but result in a compre- 
hension of the obstacles to a successful com- 
mencement excercise, and in a knowledge of 
means for removing the same. 

As before stated, this little work is not 
intended as a text-book on elocution, but as a 



[4] 



special aid for a special need. The majority 
of your orraduates have never before appeared 
in public, and probably never will do so again. 
To leave them without instruction would be 
cruel; to cumber them at the last moment, 
with a mass of technicalities would be confus- 
ing and futile. What they wish, what you 
wish for them, is to make a creditable show- 
ing for a brief hour. 

To that end, you will find here listed, in 
a plain and simple way, the difficulties which 
it is believed you will surely meet, together 
with the means of surmounting them which 
have been proved effectual by 

The Author. 



(51 




INTRODUCTION 

HE commencement exercise, as 
presented in the greater number of 
high schools and smaller colleges, 
is the most inadequate and unjust 
test to which a graduate could be subjected. 
He is thrust before the pubHc with an original 
essay or oration, having had but slight exper- 
ience in composition, and, in the majority of 
cases, absolutely no instruction in bearing or 
delivery. 

As most persons gain their sole knowledge 
of the school work in their community by at- 
tendance upon the aanu d exercises, they are 
prone to believe th it the young man or young 
woman who makes the best impression on that 
occasion has been all along the strongest pupil. 
Th it this is often untrue, a peep into the 
principal's grade-book will prove. Any teach- 
er will testify that not infrequently the brilliant 



L6I 



student is diffident in the presence of others, 
while the superficial one may possess the self- 
confidence which will assure him a creditable 
appearance in public. 

It is but common justice, then, to give 
the graduating class thorough and pointed 
instruction, that they may approach their 
commencement day with agreeable anticipa- 
tion instead of with feelmgs of torture and 
self depreciation, as is so often the case. 



PREPARATION FOR REHEARSAL 




ET us presume that the thesis has 
survived the instructor's pruning- 
knife of criticism. Three things 
are still necessary before actual re- 
hearsal can begin. 

FIRST: — The pupil should strive to be 
satisfied with his production. It is well, while 
engaged in writing, to be stimulated by a 
desire to improve; but once the thing is done, 
and he feels it represents the best that is in 
him, he should cease from worry, and turn his 
mind to the work yet to come. It is obvious 
that he cannot hope to impress an audience 
with the merit of a composition of which he 
himself is ashamed. 

SECOND: — You, as his teacher, should 
analyze the subject matter with the student, 
(in private) to bring out emphasis, inflection 
and rhetorical pause. Take up paragraph 



L8J 



after paragraph, elucidating every shade of 
meaning, and balancing phrase against phrase. 
Assure yourself that he has a clear idea of how 
each sentence should sound. In the work of 
memorizing he will unconsciously follow this 
lead; whereas, if left to himself, he may fall 
into vocal ruts from which it is next to impos- 
sible to extricate him. 

THIRD: — The graduate must have his 
lines perfectly committed to memory, that 
the interruptions necessary in rehearsal, or 
any unexpected occurrence during the final 
delivery, may not disconcert him. 

These three things once accomplished, 
he is ready for a private hearing. 



[9] 



FIRST REHEARSAL 




O one should be present but your- 
self and the pupil. Let him simply 
stand before you and recite his 
discourse from beginning to end, 
without interruption. By this you will be able 
to judge how far he has profited by your 
previous instruction. 

Then take up the first paragraph and go 
over it in detail, correcting inflection, emphasis 
and enunciation. By enunciation is meant 
the power of projecting the voice; it dues not 
refer to mere loudness. It may be investi- 
gated under tvvo heads; clear-cut articulation 
and tone-projection. In pubhc delivery, ar- 
ticulation must be somewhat magnified. That 
which is sufficient in conversation is entirely 
inadequate in oratory. An eminent teacher 
used to say to his classes; — "Articulate so 
distinctly that it sounds ridiculous to your- 



lioj 



selves; all sharpness will be blunted by pass- 
ing the distance between you and the 
audience." 

In tone-projection, remember that the 
voice follows the eye, when the eye sees with 
intelligent purpose. The speaker should re- 
gard the audience as a collection of individuals, 
and direct his eye to each one. Then the 
voice follows, being thrown as a light missile, 
every listener receiving it in full force. There 
is no need of shouting or shrieking. Pure 
tone, clean-cut articulation and direct manner 
will reach the farthest point of any room. 

It will pay to spend considerable time on 
the introductory portion of the oration, as it 
is extremely important to make a good first 
impression. One who fails to do this may 
triumph at the last, but it requires a tre- 
mendous effort to bandage up a crippled 
beginning. 



[11] 



Follow the above thorough treatment 
throughout the entire discourse, taking care 
to bind the paragraphs together. This is to 
guard against lapse of memory, which is apt 
to occur where a new line of thought is 
introduced. 

When the student has finished, call his 
attention to defects and mannerisms, such as 
slovenly attitude, twitching of hands, shifting 
of feet, clearing the throat, or any peculiarity 
of manner which would call the attention of 
observers to his physical person. This mat- 
ter must be tactfully managed, in order not to 
offend or discourage the pupil. Always make 
your criticisms in such a way as to leave him 
ambitious to improve, never sore and hurt. 



[12] 



SECOND REHEARSAL 




T the second stage of instruction, 
the subject of Posture should be 
introduced. This is the name given 
to the general position of the body, 
and the manner in which the weight is borne 
upon the feet. Some practical knowledge of 
this matter is absolutely essential to the 
forcible expression of thought. 

Posture has three general divisions, which 
may overlap or run into each other, the mixed 
attitude partaking of the meaning of the two 
of which it is composed. The three positions 
most used in oratory are: 

ist — The PASSIVE; weight borne direct- 
ly under the body by one or both feet. This 
is the attitude of repose and dignity, and 
accompanies simple statement of facts, com- 
mon conversation, all unimpassioned senti- 
ment. 



[13] 



2nd— The OBJECTIVE; weight on ad- 
vanced foot. This is the attitude of offense. 
It accompanies earnestness, enthusiasm, desire 
to move others. The intensity of the thought 
determines whether the advanced knee shall 
be bent. 

3rd— The SUBJECTIVE; weight on 
retired foot. The attitude of defense. It 
indicates, when used in different degrees, 
mental concentration, introspection, arro- 
gance, antagonism, defiance. The intensity 
of the thought determines whether the retired 
knee shall be bent. 

The pupil should usually assume a slight- 
ly Objective posture at the beginning of his 
oration, changing to others as his subject 
matter demands. Let the shifting be done 
without noise or apparent intention. Never 
permit stamping, striding, or any violent 
action, as this brings the speaker into line for 



I Hi 



ridicule. Should he prove awkward and con- 
scious, he must practice until his movenaents 
seem the natural accompaniments of his 
thought, (as in truth they should be) and are 
accomplished without any special effort. 

As at all rehearsals, mention mannerisms 
and faults of any sort yet uncorrected. Give 
due praise for whatever improvement you 
observe. 



[15] 



THIRD REHEARSAL 

A T this stage of progress, it is well to 
decide whether or not to introduce 




Gesture in the deHvery of the 
address. This depends upon the 
individuality of the student as well as upon 
the nature of his discourse. Many orations 
are forcibly given without gestures, depend- 
ing for effectiveness upon voice, posture and 
facial expression. 

If gestures be used, they must be fsw, 
must seem unstudied and spontaneous, and 
must appear at points where the thought is at 
culmination. Every gesture consists of: — 

The Preparation, or raising the hand 
from a state of rest. 

The Gesture Proper, emphasizing the 
sentiment expressed. 

The Recovery, or return of the hand to 
the relaxed condition. 



116] 



Let the student remember that the ges- 
ture proper, or principal impulse of the hand 
and arm, must be so timed as to occur on the 
accented syllable of the word which it is 
intended to strengthen. Failure to do this 
will entirely defeat the purpose of the action. 
The preparation and recovery must be so 
unobtrusively accomphshed, and so blended 
with the actual gesture as to attract no 
attention. 

There are three general positions of the 
hand, viz., Supine, Prone, Vertical. 

The Hand Supine (palm upward) denotes 
affirmation, definition, entreaty, persuasion, 
and all pleasing and elevating sentiments. 

The Hand Prone (palm downward) indi- 
cates prohibition, denial, reference to death 
or destruction, the low, the vile, all that is 
debasing. 

The Hand Vertical (palm outward, fingers 



[17] 



pointing upward) indicates surprise, repulsion, 
evasion, mental or physical aversion. The 
average graduation address will require this 
class of gesture but seldom. 

Do not introduce gestures at the begin- 
ning of an address. The arms should then 
hang relaxed at the sides. Let hand move- 
ments come later, when stronger sentiments 
reguire additional means of expression. Avoid 
extreme or dramatic action, and meaningless 
flourishes. While studying Gesture do not 
relax vigilance regarding points made at 
previous hearings. Express appreciation of 
the pupil's efforts. 



[18] 



FOURTH REHEARSAL 




T this point, the student should be 
ready to learn the proper mode of 
advancing towards the audience and 
of retiring to his place. Let him 
rise, and with figure easily erect, and arms 
relaxed, walk simply and naturally to the 
center of the stage and well to the front. He 
should be so far forward that his voice will be 
projected towards the audience instead of 
being swallowed up in the side entrances to 
the platform or stage. He should be so far 
back that the footlights (which should always 
be provided) will shine upon his face without 
casting shadows upon his upper features. 

Allow neither strutting nor slouching, 
neither haste nor hesitation. Never permit a 
bow of any sort, either at the opening or 
closing of an address. Used at the begin- 
ning, it appears as a sort of a bid for admira- 



119j 



tion; at the close, it has the effect of an invi- 
tation for applause. In any event, it calls 
the eyes of those present to the speaker's 
person, which is always to be avoided. 

As his position is gained, let him include 
the audience, collectively and individually in 
a comprehensive glance, pausing for an instant 
until complete attention is gained. Then 
swaying the weight slightly forward, as sug- 
gested in the chapter on Posture, let him 
begin speaking. 

Upon closing, he should take one step 
backward with the foot which is opposite to 
the direction in which he intends to move. 
That is, if his seat is toward the right, he 
should step back with his left foot, and vice 
versa. This gives the body an inclination 
forward, sufficient to indicate that he has 
finished. He can then turn easily and walk 
to his place. This must be practiced until it 



[20] 



can be done without halt or hurry. 

At this rehearsal, which will probably be 
the last private one, mention once more all 
peculiarities of manner, and do not fail to 
commend the pupil on his progress. 



[21] 




CLASS REHEARSAL 

FTER each member of the class 
has been drilled according to the 
foregoing directions, it is desirable 
that he should rehearse as often as 
seems necessary before his class-mates, in 
order to accustom himself to the presence of 
an audience. This is a severe test, as most 
persons find it more embarrassmg to address 
their familiars than to face a large assembly. 
It is possible that on these occasions the 
more diffident ones may be inclined to slight 
your former instructions regarding gesture, 
facial expression and directness of speech; if 
so, insist upon having these things observed 
exactly as if the real audience were present. 

Perfect order and courteous attention must 
be required of the listeners, and all suggestions 
and criticisms from them must be offered in a 
kindly spirit. Nothing so confuses and dis- 



122j 



courages one thus rehearsing as to be com- 
pelled to witness meaning side-glances, 
nudges, or ostentatious note-taking. The 
writer desires to emphasize this point, inas- 
much as the pupil is now at a stage where 
encouragement will urge him forward to 
success, while ridicule or even indifference will 
tend to reduce him to mediocrity, if not 
absolute failure. 

When able to do so, arrange to have a few 
of these last practice hours in the hall where 
the final exercises are to be held. Place 
pupils in different parts of the room to report 
on the carrying qualities of each speaker's 
voice. If the class be large, divide it into 
sections of convenient size, that the sessions 
may not be to long. 



[23] 




CLASS TALKS 

T convenient times during the weeks 
of preparation, give the class the 
benefit of a few short talks, to 
promote interest and harmony. 
If, after the questions of emblem, motto 
and decorations have been settled, there still 
remains evidence of apathy on the part of any 
students, show them that, so far, the finishing 
of school is the most important event in their 
lives, and is so regarded by their families and 
the community at large. Appeal to their class 
pride, and make it clear that by their lack of 
enthusiasm they can mar the occasion for the 
entire class, and cause bitter disappointment 
to their friends. 

At another time, speak of any faults or 
peculiarities of delivery which the class may 
hold in common. Many pupils acquire man- 



I24j 



nerisms from grade teachers which cHng to 
them through Hfe. It is a fact that whole 
classes often unconsciously imitate some trick 
of manner which they observe in their instruc- 
tors, to the exclusion of the excellent qualities 
which they might better emulate. 

Again, tell the class how to keep in good 
physical condition until Commencement is 
past. Warn them about taking cold. 
Emphasize the importance of regular habits, 
such as early hours, plenty of sleep and 
exercise. Ask them not to arrange many 
parties or class receptions, as these consume 
much time which should be devoted to rest. 
Too much society has compelled many a 
student to remain at home, ill, on Commence- 
ment day. 

Any topic which concerns the class as a 



[25] 



body may be made the subject of such a talk; 
if tactfully managed, much benefit will result. 



[26] 



FINAL REHEARSAL 




HE final rehearsal should be held in 
the hall, after all decorations are in 
place, on the evening before the 
public exercises. This is necessary 
in order that each member of the class may 
know his place, and may be able to leave his 
seat and take it again unobtrusively. It is 
desirable, also, that all may become familiar 
with the glare of the foot-lights, with the loca- 
tion of different articles of furniture upon the 
stage; in fact, with every detail of the sur- 
roundings. 

Do not imagine this of trivial importance. 
Attention to little things will make or mar 
your entertainment. The least occurrence, 
if unexpected, may cause a failure. I have 
seen a young man, at the height of his perora- 
tion, overturn a stand of flowers with a sweep 
of his arm. He had not observed it so near 



him. I have seen a young woman, on her 
way to the front, trip over a rug and fall to 
her hands and knees. Imagine her confusion! 
Such incidents spoil the occasion, not only for 
the one most concerned, but for the whole 
class and audience as well. 

Require all participants to be present at 
an appointed hour. 

Begin promptly, and work through the 
entire program in proper order, musical 
numbers as well as literary. 

Do not give any special drill or criticism. 
If mistakes are made, it is now too late to 
rectify them. An attempt to do so will result 
in confusion and discouragement. 

This evening's work is apt to be far from 
satisfactory, owing to the nervous strain 
sustained by all. Do not be disheartened. 
You will be surprised to see how many of the 



[28] 



''kinks" will straighten out of themselves 
over-night. 

Get through early and go home. 



[29] 



COMMENCEMENT DAY 




T should be impressed upon the 
class in one of the short talks 
mentioned above, that Commence- 
ment day should be restful. 
Positively no rehearsals, class meetings 
or school duties of any kind should be per- 
mitted. Discourage practice even at home 
on that day. If the pupil fears he may forget 
his lines, he may silently read his manuscript, 
carefully looking at each word to strengthen 
visual memory. This should be done early 
in the day. Let him then cease worry, and 
forget all about it, if he can. If he has been 
faithful in preparation, there is no cause for 
uneasiness. 

He should rise at the usual hour, take 
moderate exercise, and eat plain food, avoid- 
ing sweets and pastries. The evening meal 



[30J 



should be partaken of rather earher than 
customary. Instead of the starvation plan 
advocated by some, I advise a wholesome, 
nourishing meal, though not a hearty one. 
An empty stomach may cause giddiness, 
faintness, loss of memory, any one of which 
is fatal to a successful public appearance. 

Warn the student not to be constantly 
doctoring his throat. Slight hoarseness may 
appear, but this is usually caused by nervous- 
ness, and is not susceptible of direct treat- 
ment. The throat should be ignored unless 
there is some really serious trouble, requiring 
medical attention. Throat tablets, lemon- 
drops, etc., produce an undue flow of saliva, 
which is apt to prove troublesome. 

Preparations for the evening should be 
begun early and made leisurely, as it is not 



[31] 



desirable to arrive at the hall two minutes 
before the opening number, with red face and 
exhausted breath. 



[32] 



THE CLOSING EXERCISES 




OU should arrive early at the ap- 
pointed place, to satisfy yourself 
that adequate arrangements have 
been made for the accomodation of 
the large gathering which is invariably present 
at a school entertainment. Be sure that the 
house is well ventilated, but without direct 
drafts. Examine the decorations to see that 
there is no danger of fire. Assure yourself 
that every thing possible has been done for 
the comfort of the people, thus insuring quiet 
and attention. 

The class should be assembled and in 
readiness at least fifteen minutes before the 
hour to begin the program. This will allow 
grace for the tardy one. Do not permit loud 
talking in the dressing room, as it is plainly 
audible to the audience. 



[33] 



You should be calm and cheerful, out- 
wardly at least; nervousness is contagious. 
The graduates will be affected by your 
manner. Be careful not to allow any pupil to 
see that you fear for his individual success, 
no matter what you may feel. Take it as a 
matter of course, and say, that all will acquit 
themselves with credit. Make them know that 
you expect much of them. 

Begin the program on time, and keep it 
moving steadily, though without haste, to the 
end. Do not exhibit, nor allow the class to 
exhibit chagrin or impatience should a speaker 
blunder in any way. This will but call atten- 
tion to a mistake that otherwise might go 
unobserved. Let him recover his ground, if 
he is able: if not, help him in the manner that 
seems best fitted to his misfortune, and let 
it pass. 



[34] 



It has been the writer's experience that 
it is better to do away with all prompting. 
When the speaker knows aid is near, he may 
unconsciously lean upon it; on the other 
hand, if he realizes that it is a case of "sur- 
vive or perish" alone, he will compel his 
memory to serve him. However, if prompt- 
ing be employed, let the words be spoken 
distinctly, so that they will be plainly heard 
by the pupil. It is very annoying to be 
obliged to ask for a repetition. The pupil 
should be previously instructed not to turn 
toward the prompter nor to show any discom- 
fiture. Should the speaker flounder hopeless- 
ly, it is sometimes best to let him take his 
seat, allowing him another trial later in the 
program. 

In presenting the diplomas, let your 



[35] 



speech be audible to both class and audience, 
witty if possible, short always. 



[36] 




STUMBLING BLOCKS 

THE DISCOURAGED STUDENT 

T is almost certain that your class 
will contain at least one member 
who constantly depreciates his own 
efforts. "I can't" is his cry, at 
least whenever he thinks of ''saying a piece" 
in public. Each blunder he makes at rehear- 
sal, each suggestion you see fit to offer, only 
strengthens his belief that he is nobody, and 
can do nothing. 

This young person may be uncommonly 
sensitive by nature, or he may be the object 
of unfair criticism at home, or he may even be 
a bit of a coward, fearing to brave the possible 
ridicule of classmates and public. In any 
case, he must be lifted out of his miserable 
position. 

If he will not yield to the influences of 
ordinary encouragement and praise, you will 



[37] 



have to give him a straight, confidential talk, 
of the heart-to-heart variety. Point out that 
although he is as well off as others in the 
matter of natural gifts, he is retarding their 
development and will eventually destroy them 
by this cheapening process. While not 
causing him to hold too high an opinion of 
himself, strive to give him a due appreciation 
of his own ability, that he may not appear 
before his audience with an air of ''please- 
pardon - me -for - occupying - time-and- space," 
and after uttering a few apologetic sentences, 
huiriedly retire to a back seat. 

Belief in himself and in the truth of the 
message he is to deliver is his only salvation. 
When you have convinced him that you 
believe in him, you have gone far toward 
solving the problem. 



[38] 




STUMBLING BLOCKS 

THE CONCEITED STUDENT 

HIS person is the very opposite of 
the one just considered. He is 
handicapped by a sense of fancied 
superiority, and unless he can be 
cured of his fault, his audience will be hard 
upon him. 

His self-assurance invites his listeners to 
expect much. If he fails to meet their ex- 
pectations, their criticisms are very unchari 
table. Instead of enlisting their sympathetic 
attention and desire for his success, he 
indicates by his lordly manner that he feels 
perfectly able to take care of himself, and 
that they may consider it a privilege to hear 
his eloquent words of wisdom. As a conse- 
quence, any blunder he may commit is apt to 
be received with secret satisfaction, even by a 
well-bred audience. 



[39J 



Should the conceited student happen to 
be a woman, her malady will probably take 
the outward form of affectation. She will 
assume a mincing gait; she will give herself 
an air of ultra refinement and culture; her 
gestures will consist of fearful and wonderful 
curves. Truly, she is standing in a slippery 
place. Should any mischance of delivery 
befall her, (as is indeed likely, her mind being 
occupied with herself,) all sympathy from her 
hearers would be withheld. 

In rehearsal, suppress all outward signs 
of this inward feeling, such as swagger 
and bluff in the boy, unnatural graces in the 
girl, and undue movements of the head in 
both. If they do not understand what you 
wish to correct, you must tell them plainly, in 
private. In a tactful manner disclose the 
injustice they do themselves, and emphasize 



[40] 



the fact that there is nothing so hard for an 
audience to excuse as arrogance and affec- 
tation. 



[41] 




STUMBLING BLOCKS 

THE EMBARRASSED STUDENT 

HE case of the graduate who be- 
comes embarrassed before his audi- 
ence is a most painful one. He 
may be letter-perfect, every detail 
of his delivery may be all that is desirable at 
rehearsal, yet his public effort may prove a 
total failure. 

When his name is pronounced, and he 
rises to face that awful amphitheatre, his 
courage deserts him, and he suffers real 
torture. His voice issues weak and trembling 
from a throat all choked and dry; his face 
flushes or turns ghastly pale; hands and feet 
become cold and clammy. His condition is 
evinced by every word and motion. The 
audience suffers with him, and is relieved 
when his harrowing ordeal is at an end. 



[42] 



Stage fright is no respecter of persons. 
It may seize the very pupil whom you sup- 
pose entirely safe from it; hence each member 
of the class should receive some advice on the 
subject. Traced back to its actual character, 
embarrassment is found to be a form of 
egotism. The student is thinking of himself 
and of how others regard him. The current 
of self-consciousness becomes so strong that it 
clogs the channels of expression. Could the 
speaker banish all thoughts of his physical 
self, his trouble would disappear. 

To overcome this condition, familiarity 
with environment is a decided help. Also, 
in every rehearsal the student should school 
himself to address an imaginary audience, 
that the real one may have less power to 
disconcert him. 

Again, he should see to it that every 



[43] 



detail of his dress is familiar and easy. So 
trifling a matter as a pair of squeaking shoes 
or a tight collar has been known to turn a 
speaker's thoughts upon himself to his utter 
undoing. The young woman whose gown is 
too long, or whose hair is dressed in an 
unwonted matter, is also a likely victim of the 
self-consciousness which will cause her to 
break down. 

The greatest safe-guard for the orator, 
however, is a firm belief in the truth of what 
he has to say, and an intense desire to move 
his hearers to the same opinion. Let him 
strive to hold out his message, and to hide 
himself behind it. Let the mental serve as a 
screen for the physical. If he will do this, it 
will not occur to him to think of his deficien- 
cies. Though his voice be uncultured, his 



[44] 



movements awkward, his appearance uncouth, 
the audience will be deaf and bhnd to all but 
the beauty of his sentiment and the strength 
of his purpose. 



[45] 



THE FINAL WORD 




T may seem to you that the system 
of coaching which is promulgated 
in the foregoing pages will tend to 
produce a uniformity of delivery in 
the graduates, so that they will appear to have 
been run through a machine, each precisely 
like the others. Such a result would be 
deplorable, indeed. 

It is true that many elocution teachers 
and drill-masters have a way of causing their 
pupils to imitate them, parrot-like. Never a 
reason or a general rule do they give. Their 
instruction consists, in a nut-shell, of saying: — 
"Behold me! Do as I do!" This is the most 
effectual method of crushing one's individual- 
ity and producing flat failure that has yet been 
devised. Instead of impressing himself 
upon the pupil, the teacher should bring 
out the strong characteristics of the one 
taught, and develop his latent powers. 



[46] 



There need be no similarity among the 
members of your graduating class in the 
matter of deHvery. The same forces, work- 
ing outward through their separate personaH- 
ties, will present different phases. If they 
will practice each of your suggestions until it 
becomes a part of their own mental or physi- 
cal habit, they will not appear automatic or 
artificial. 

Give a good reason for every word of 
instruction you offer. Not a rule of true 
eloquence but has its origin in the very 
fountainhead of human emotion. The pupil 
will see that what you require of him is not to 
be true to you, but to be true to himself. 
He will feel that what you wish of him is not 
dead art, but living Nature, which is, after ail 
the only art. When I say — "Appeal to the 
student to be natural," do not understand me 
to refer to his acquired or second nature, but 



[47] 



to his higher, or God-nature, the bit of divin- 
ity that is his portion. This constitutes his 
real being of which it is impossible to rob him. 
When you prune off his mannerisms, you 
deprive him only of the excrescences of habit, 
not of any of those manners and ways which 
are the manifestations of original character. 
It is your part, as daily and intimate friend 
of your pupil, to study his personality and to 
adjust the suggestions here offered to fit his 
needs. 

When Commencement day has come and 
gone, do not be disappointed if you receive 
scant credit for its success. I do not wish to 
be cynical, but I have often observed that if a 
pupil fails, his friends declare him to be the 
victim of inferior instruction; while if he scores 
a triumph, they attribute it to his remarkable 
intellect and personal energy. Verily, in most 
cases, teaching is forced to be its own 
reward. 



[48] 



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